Bawwaba, one of the four curated sections of Art Dubai’s gallery programme, puts a spotlight on artworks made in the year leading up to or specifically for the fair. 10 solo presentations by artists from 10 countries will be exhibited as part of this year’s edition, responding to the thematic outlined by this year’s section curator, Mirjam Varandis, Curator-at-large Kunsthaus Zurich and founder of Mirjam Varadinis Art Agency, Zurich.
Introduce your curatorial framework for Bawwaba for Art Dubai 2025.
We are living in times of great political, social and ecological turmoil and so Bawwaba 2025 will look at how artists can imagine new forms of coexistence, both amongst people and with our planet. Art has the ability to imagine the impossible and at the same time remember common ground – both urgently needed today. The solo presentations will be from artists who are reflecting on those issues, envisioning new models of living together. This is a topic that I’ve been interested in for a while, and I think Art Dubai is an important context to reflect on these ideas.
What does this selection of galleries say about next year’s edition?
Thinking about the overall framework, I was looking for diversity on various levels, both in the status of the galleries, and their geographies. We have established galleries such as Art:Concept (Paris) alongside younger galleries that are still about to write their history in the future such as Iris Projects (Abu Dhabi). They come from different parts of the world and are also at different stages of development. I’m particularly interested in how these galleries—like different species on our planet—interact and complement each other. This dynamic will, I hope, lead to many new discoveries for the visitors of Bawwaba.
Tell us about some of the presentations we’ll see and how do these come together in the section?
The artists in Bawwaba, born between 1973 and 1992, represent a wide range of backgrounds. There are 10 solo presentations across 10 countries, spanning five continents: South America, North America, Europe, Asia, and Australia. We will see Tomás Saraceno, a well-known Argentinian artist with a rich history who will present an immersive installation of hanging cloud sculptures, a continuation of his ‘Cloud Cities’ concept, alongside discovering Kate Newby, a New Zealand artist who works with elements of the outdoor environment such as light, rain, sun and wind. She has a commission for the 2025 Sharjah Biennial which runs parallel to Art Dubai.
We will also feature Abdullah Al Othman, one of the region’s most significant artists, alongside artists from Kazakhstan, Mexico City, and India. Abdullah will be creating a new version of the work shown at the Lyon Biennial, deeply rooted in his study of Riyadh, while continuing to explore forgotten places and profound human concepts through diverse artistic mediums. Omar Mismar, who was recently shown as part of the Venice Biennial 2024, brings a presentation of politically charged mosaics that merge ancient techniques with evocative imagery.
The section will present a wide range of techniques: from wool-based ‘paintings’ to large-scale drawings, sound pieces inspired by rivers, and immersive, multi-wall landscapes. Many of the artists’ practices connect with their origins rooted in craft traditions and use this ancient knowledge to re-think the future. Together, they will create a rich, multisensorial experience for visitors.
In what ways do these presentations imagine new models of living together?
I wanted to bring together a selection of artists that are reflecting on our relation with the planet, other species and how we deal with our resources. Karthik Pandian connects to nature and creates an environment that invites us to reflect on the holy rivers of India and their relationship with us human beings. Similarly, Jorge Rosano Gamboa explores the resources we rely on, particularly water. Gulnur Mukazhanova on the other hand uses handcrafted wool as a canvas, merging tradition with contemporary forms of painting. So, it’s about imagining a future by re-thinking the past and present. This interplay is particularly relevant to Dubai’s context, where ancient knowledge and rapid modern transformation intersect. Abdullah Al Othman’s work, for example, focuses on the city’s changing landscape, using local materials to reflect these shifts.
How does Bawwaba respond to its context within Art Dubai and the city of Dubai?
Bawwaba is a section dedicated to discovery—crucial for the diverse audience at a multicultural fair like Art Dubai. For both collectors and curators, Bawwaba is designed to be a rich, engaging encounter, fostering connections between different geographies, traditions, and perspectives. In doing so, it aligns with Art Dubai’s mission to serve as a platform for global dialogue while contributing to the region’s dynamic cultural landscape.
